Progressing!!

I've been working in my freeeeezing garage in the time when I am not at my residency! The work is coming to an end, here are some progress shots of the past few months! have a look and let me know what you think!!

 

 

SPACE

Today, I heard news that the Art Gallery of Grande Prairie has decided to show my work supported by the Alberta Foundation for the Arts. I am delighted! It likely will not be for two (maybe less) years. BUT! lots of excitement to look forward to!

I am in the beginning stages of building a space as a venue for performance. I am very interested in creating domestic spaces as venues. Since my work revolves around a singular moment of awareness about what is decidedly beautiful or grotesque. I think it's also important to note the way we internalize those moments and become self-conscious in relation to the work. It is familiar in a sense that the work is fleshy, uncannily relatable to the human scale and perhaps magnifies the parts of ourselves that we try to hide most. My love for peculiar domestic spaces comes from the concept of the Uncanny Valley by Masahiro Mori. The Uncanny Valley is when there is a psychological reaction to something that is familiar but just not quite right. In Freuds essay The Uncanny, he described the quality of fear that arises when something that is very familiar becomes unfamiliar through a series of events such as repetition, disorientation, visual trickery or repression. 

Here are a few snapshots of the beginning stages of the space!

 

 

 

Suit

I've been working on re-creating the suit that I lost in the accident at Mile Zero. It is slowly coming along and sort of morphing into something completely different! Here are a few detail shots!

ENJOY.

 

On the Bus

About a month ago I got on the bus and sat down next to an elderly man. I was on my way home and hardly paying attention to anyone around me. I was thinking of everything I had yet to complete before the end of the day. 

As I sat there, I noticed (from the corner of my eye) what appeared to be slow and rhythmic hand motions. Suddenly my face felt hot. I looked over and the elderly man was staring at me with a strange sort of hunger. He licked his lips and repeatedly and forcefully rubbed his legs up and down. His hands spreading from the inside of his thighs to the outside of his legs.

As I sat there living in this weird fucking moment, I had to stop myself from performing the  movements that I had been doing the past month in We Are Revealed at Mile Zero Dance. The work is very personal and speaks to how I feel in moments exactly like this one. I felt like violently swinging my hand up to my forehead over and over until he stopped rubbing himself and until I felt better. But I didn't, I stopped myself. 

This has me thinking about the work in real life situations. I continue to think about the stories I hear from friends on how they as women are being seen and spoken to. I think about what they might have to endure just to make their way home from work. Everyday.

Do I really need the costume to perform these movements? Should it really be in a staged space where everyone is comfortable and empathetic or should these performative movements happen on the LRT, on a bus, in a bar? Can these movements actually be a useful tool in confronting the male gaze? 

 

 

 

 

Alberta Foundation for the Arts- Individual Project Grant

We Are Revealed

I was recently awarded an individual project grant from the Alberta Foundation for the Arts. This is a blog detailing the work We Are Revealed as it progresses. I would like to encourage you to leave comments, thoughts, ideas or start a conversation in regards to the work! 

I was lucky enough to show the beginning stages of the work at MileZero Dance this fall. It was a really lovely opportunity to explore the work and experiment in an alternative gallery space. I performed weekly at MileZero Dance for the month of October. I was able to experience a really diverse crowd. At times, no one was there, other times the room was full. At times the crowd was very interactive, other times they would stand so far back I couldn't see them. I was able to do a few performances with my little one. It was really special to watch as they developed their own sort understanding of the work and responded accordingly to the crowds and how they felt in that moment. 

In the last three days of the show at MileZero Dance, someone drove right through the gallery front window. Unfortunately I had to toss both mine and my Childs costume. I have been set back a little bit, trying to recreate the costumes so that I may continue to perform. I have been in search of new venues to perform. I'd like to continue performances throughout the entire process of making work. If you have any thoughts or spaces to offer, I'd love to hear them!! 

We Are Revealed deals with the anxieties and vulnerabilities that I experience when I've become the object of someone else's gaze. The costume that is worn for the duration of the performative installation, manipulates the emblematic nature of clothing and skin; poetically deeming its own connotations of what is attractive and repulsive. As the work continues to evolve and as I spend more time wearing the costumes, I have come to understand it as a manifestation of my anxieties in physical form. The work speaks directly to the paradoxical attractions and simultaneous tensions between what could be defined as beautiful or grotesque. The performative aspect of the work relies on the audience; using the spectators as a crutch, which in turn frees myself from any responsibility of my actions. 

Here are some images of the works in their beginning and experimental phases!

The work will be travelling to Toronto in February as part of Justine Hartleib-Power's Thesis Exhibition Mind The Gap: The Interstices between Architecture and Experience at OCAD!!